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„Znakovi, stavovi, tragovi. Uvidi u hrvatsku likovnu umjetnost" zbirka je tekstova Tonka Maroevića s područja povijesti umjetnosti i likovne kritike, odnosno studija posvećenih hrvatskoj modernoj i suvremenoj umjetnosti. (…) U prvoj cjelini („Panoramski pregledi“) okupljene su sintezne studije koje donose širi pogled na umjetničku produkciju 19. i 20. stoljeća ili se pak bave određenim stilskim fenomenom, dok su u drugoj cjelini („Portretne studije“) sabrane monografske obrade pojedinih umjetničkih opusa. Na ovaj način sabrano i strukturirano, pisanje Tonka Maroevića o likovnoj umjetnosti jasno odaje svoje kvalitete: uz očekivano poznavanje i priznavanje prethodnih spoznaja, to je prije svega heuristički usmjerena, intenzivna analiza samoga umjetničkog djela, komparativno sagledavanje fenomena u povijesnom prostoru i vremenu te, naravno, spisateljsko umijeće. Premda su posrijedi tekstovi koje je Tonko Maroević pisao zasebnim povodima i kroz vrijeme, ovo izdanje funkcionira i kao svojevrsni pregled, summa na tragu Gamulinovih sinteza hrvatskoga modernog slikarstva i kiparstva, a upravo kao takvo predstavlja neizostavan znanstveni doprinos – Maroevićev povijesnoumjetnički i kritičarski opus, njegovo pisanje o umjetnosti 19. i 20. stoljeća, već zadugo je nezaobilazna referentna literatura za svako znanstveno bavljenje u navedenom području, pa ova knjiga dodatno potvrđuje i produbljuje njegovu uraslost u kapital znanja naše discipline. [iz recenzije Ivane Mance]

U radu će biti obrađen pregled osnovnih zbivanja vezanih uz razvoj likovne kritike na zapadu Europe u usporedbi sa zbivanjima u Rusiji tijekom devetnaestog stoljeća. Biti će navedene i najvažnije ličnosti koje se vežu uz ključna djela, komentare izložbi ili razmatranja o suvremenim umjetnicima i umjetničkim praksama. Na temelju razrade navedenih pojava rad će se zaključiti s usporedbom zbivanja na dva različita geografska područja komentiranjem sličnosti i razlika i time smještanjem Rusije u kontekst razvoja likovne kritike u Europi. This paper will be focused on the most important events connected to the development of art criticism in Western Europe, as well as on the comparison with events in Russia during the nineteenth century. In the text there will also be listed a few of the most important people tied to key writings, exhibition commentaries or observations about contemporary artists and art practices. Based on the elaboration of listed fenomenons, the paper will be concluded with comparison of events on two different geographical areas by commenting similarities and differences and placing Russia in the context of development of art criticism in Europe.

Medo Pucić(1821-1882), Ragusan intellectual whose pursuits by far surpassed the field of literature, published in 1878 an interesting art review in the literary journal Slovinac. His contribution casts light upon an internationally acclaimed French painter of Dubrovnik origin, Michel Willenich (Miho Vilenik, 1827-1891), who until now has remained neglected by the catalogue surveys of Dubrovnik and Croatian art history. PucićCroaticised the painter’s name and added insightful and until then unknown details to his life and work . He also introduced the reader to the atmosphere of the Paris Salon, major art event of the day, and thus updated his fellow-citizens on the latest art developments in Europe.The research into archival material and catalogues (from 1870 to 1903) of the exhibitions held in Paris and France reveals a productive painting opus of the official painter of the Ministry of Marine and French colonies and a Knight of the Legion of Honour. Within the context of Pucić’s miscellaneous and comprehensive work, his interest in art certainly earns an important place. Apart from his rewarding role in the artistic maturing of Vlaho Bukovac, thanks to Medo Pucić, nineteenth-century art history of Dubrovnik and Croatia is richer for yet another figure of Dubrovnik roots―painter Miho Vilenik.

Medo Pucić (1821-1882) bio je svestrani intelektualac, književnik i istaknuti nositelj kulturnog ozračja Dubrovnika 19. stoljeća. Godine 1878. u časopisu Slovinac objavio je zanimljivu likovnu kritiku “Miho Vilenik slikar u Parizu”. Taj njegov prilog otkriva nam Michela Willenicha, međunarodno priznatog francuskog slikara dubrovačkog podrijetla, koji je do sada ostao potpuno izvan kataloških pregleda dubrovačke i hrvatske likovnosti. Uvidom u arhivsku građu i pregledom kataloga izložaba u Parizu i Francuskoj od 1870. do 1903. otkriva se bogati slikarski opus službenog marinista Ministarstva pomorstva i kolonija Francuske i viteza Legije časti. U kontekstu cjelokupnog i raznorodnog Pucićevog opusa ovim člankom se pokazuje njegov izniman senzibilitet za likovne umjetnosti i kontinuirano nastojanje afi rmiranja dubrovačkih slikara., Medo Pucić (1821-1882), Ragusan intellectual whose pursuits by far surpassed the fi eld of literature, published in 1878 an interesting art review in the literary journal Slovinac. His contribution casts light upon an internationally acclaimed French painter of Dubrovnik origin, Michel Willenich (Miho Vilenik, 1827-1891), who until now has remained neglected by the catalogue surveys of Dubrovnik and Croatian art history. Pucić Croaticised the painter’s name and added insightful and until then unknown details to his life and work . He also introduced the reader to the atmosphere of the Paris Salon, major art event of the day, and thus updated his fellow-citizens on the latest art developments in Europe. The research into archival material and catalogues (from 1870 to 1903) of the exhibitions held in Paris and France reveals a productive painting opus of the offi cial painter of the Ministry of Marine and French colonies and a Knight of the Legion of Honour. Within the context of Pucić’s miscellaneous and comprehensive work, his interest in art certainly earns an important place. Apart from his rewarding role in the artistic maturing of Vlaho Bukovac, thanks to Medo Pucić, nineteenth-century art history of Dubrovnik and Croatia is richer for yet another fi gure of Dubrovnik roots―painter Miho Vilenik.